Pylypchuk has often reminded us of the face as the focal point in art, his art. As it refers to expressive abstraction (late Pollocks, Morris Louis et al) later Billy Al Bengston and even still later (now, currently) Monique Van Genderen (see a post here from earlier today), I'm not sure the points other than to explore a certain control and facility of fluid material in order to accomplish a painting, one that must signify with both line and color as its raison d'être. In this regard, the works are hugely successful even if such fluid humors remain static in the end.
As expressions, these paintings are a bit downer, two dark-ringed poles and a downward-arcing line which suggests either saddened eyes with a trembling frown or on another tack perhaps, two whirling celestial bodies hovering over a horizon. Whether or not one takes portrait or landscape in these largely indifferent canvases (all 78 inches square, all Untitled, 2015, all enamel and spray paint on canvas on panel), there are bright spots worth expanding upon. Note the internal light of each eyeball, each planet. These sad, darkened rings with quivering lips/grounds, ultimately, suggest uncertainty, ambiguity, and disappointment, something valium can't really change in any long term way. So, how do you really want me to feel about these? I can't decide.